Two Paris,France Prints Louis XIV American and Persian interest
Please Note:-I am not sure if these are original prints,or later,and if so,how much later.They have been priced to sell as if they are later. One of these shows Persian drummers and trumpeters.The other shows American drummers and trumpeters.These celebrate the last bit of festive fun in Paris before the court moved to Versailles. Originally printed in and from the Festiva ad capita an- nulumque discursio of . I think these are quite rare,and if original, are only one of three hundred copies of the original book produced in Latin as per the information below. The image size is 12 x 11 inches.They are quite nicely framed,and the size of the frames are approx 20 x 19 inches. They are both in excellent condition. The information below refers to the originals. From "Courses de Testes et deBaque Fatittes" Hand-Coloured Engraving with Text by Charles Perrault Paris, The Imprimerie Royale of France published Courses de testes et de bague Courses de testes et de bague or the latin version known as Festiva ad capita an- nulumque discursio in the final months of as the first volume of the Cabinet du Roi (later reorganized as volume X). Seven hundred copies were printed and bound in red leather, four hundred in French and three hundred in Latin. The book records a Carrousel (also written carousel) or tournament held on June 5 and , organized by the twenty-four year old King. The fifty-five participants were divided into five quadrilles representing the Romans, Persians, Turks, East Indians, and Native Americans Indians, with the king and four of his highest ranking noblemen as the chiefs. This is the beginning of the Cabinet du Roi, the first use of the icon of the sun by Louis XIV (Sun King), and the farewell to Paris by the royal court. During the eight years it took to create Courses de testes et de bague, the five men responsible for it—Charles Perrault, Esprit Fléchier, Israel Silvestre, François Chauveau, and Gilles Rousselet—became or already were members of the controlling academies of Paris. Historian Lynn Festa, writing in Empires of the Sun: Colonialism and Closure in Louis XIV’s Carrousel, comments, “What is curious about the Carrousel is the prominent place given within this closed universe to those who have no access to power within it—to images of subjugated populations, to colonial rivals, to slaves.” “Rather than challenging Louis’s serene, absolutist order, the exotic otherness of the extravagantly costumed princes, slaves, and animals, serves to celebrate the king’s power. The potentially threatening plurality of images is enclosed in the systematic, subordinating hierarchy of the royal fete. If the first half of the Carrousel—the procession—celebrates and constructs the otherness of its exotic figures, the second half—the ritual assembly before the Louvre—rewrites the meaning of these images into a specifically French iconography that affirms the centrality of Louis XIV.” Ad ID: Delivery Services Consumer Credit